|Early Improvisations with Pauline Oliveros, Loren Rush, Terry Riley, and Others|
A series of improvisations, recorded around 1957, and featuring Pauline Oliveros, Loren Rush, Terry Riley, Laurel Johnson, Robert Erickson, and Bill Butler. The instrumentation for these five pieces is varied and unspecified, but seems to include piano, percussion, flute, and a trumpet, or some other brass instrument. The first improvisation is used as accompaniment for a lengthy monologue. These early experiments with aleatoric and improvisatory music serves as a valuable historical record chro...
Keywords: Music; New Music; Improvisation; Monologues with music
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|La Journée de l’Existence by Ivan Wyschnegradsky|
Ivan Wyschnegradsky was a Russian-born composer who in the early 1920’s designed the first quarter-tone piano. For the next 30 years Wyschnegradsky developed an intricate system for composing microtonal music, producing numerous musical works and written articles. However it was not until the 1970s that his music finally found the audience that it deserved. Part of his newly acquired cult status among young composers was due to a day long series of concerts produced by Radio France on January ...
Keywords: KPFA-FM; Music; 20th Century Classical; Monologues; Ivan Wyschnegradsky
|Diamánda Galás Live at the La Jolla Museum|
Recorded live on May 21, 1983 at the La Jolla Museum of Contemporary Art, Diamánda Galás performs her “Wild Women with Steak-Knives,” an avant-garde performance art work for vocals and live signal processing. Part of her 1981 album “The Litanies of Satan,” the piece features the operatic range and diabolic inflections of vintage Galás. With sounds that vary from hisses, to screeches, moans, hollers, spits, and stutters, all accompanied by minimal electronic manipulations and elaborati...
Keywords: KPFA-FM; Music; Avant-Garde; Performance art; Monologues with music
|Do It by Robert Erickson|
A recording of “Do It,” a 1968 composition by Robert Erickson in which words and phrases are used in a fashion that is reminiscent of the complex polyrhythms of of African drumming and the chaos of political campaign rhetoric. According to the composer in the program notes of a 1987 performance of the piece: “’Do It’ grew out of the sounds of the 1968 presidential campaign, the speeches of General MacArthur, television, radio and magazine advertising of that period; and a poem by Donal...
Keywords: Music; New music; 20th century classical; Monologues with music; Robert Erickson